A
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SOLOMON R. GUGGENHEIM COLLECTION OF
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Digitized by the Internet Archive
in 2011 with funding from
Solomon R. Guggenheim Museum Library and Archives
http://www.archive.org/details/artoftomorrowfif1939gugg
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The theme center of the New York World's Fair owes its inspiration to this creation of Rudolf Bauer,
"The Holy One," painted in 1936, exhibited and published in 1937 in the United States of America.
ART OF TOMORROW
RUDOLF BAUER
FIFTH CATALOGUE OF THE SOLOMON R. GUGGENHEIM
COLLECTION OF NON-OBJECTIVE PAINTINGS
PART OF WHICH IS TEMPORARILY EXHIBITED
AT 24 EAST 54th STREET, NEW YORK CITY
OPENING JUNE 1st, 1939
SOLOMON R. GUGGENHEIM FOUNDATION
NEW YORK
RUDOLF BAUER, No. 103, No. 104, No. 105, No. 106, "TETRAPTYCHON" Symphony in four movements.
THE POWER OF SPIRITUAL RHYTHM
A great epoch in art is started by genius who has the power to improve former accom-
plishments and the prophecy to state the new ideal.
Genius is a special gift of God to the elite of a nation. Great art is always advanced to
the understanding of masses. Yet masses indirectly are benefited through the fame for
culture which the advance guard of elite brings to them in the increase of their importance
as a nation.
There are thousands of people interested towards creating the importance of their century.
When addressed to them, art is certain of response. In the coming millennium masses will
profit by the prophetic cultural achievements of these thousands as courageous, honest,
far-seeing creators influence the style of the earth of tomorrow.
A highly developed taste, the most refined cultural expression of art can be acquired by
anyone who is able to feel beauty.
The sense for beauty and art must be felt intuitively and cannot be communicated, but is
an intensely worthwhile experience, which brings lasting enjoyment into life. Culture
enrichens life. It is the only wealth without a burden.
RUDOLF BAUER, No. 132, No. 133, No. 134, "TRIPTYCH" Symphony in three movements.
4
Non-objective masterpieces are created intuitively. They are alive with spiritual rhythm
and organic with the cosmic order which rules the universe. Beauty is their main attraction
and all that matters to the layman. For the connoisseur of culture, masterly Non-objective
paintings are the height of art. As education's most consequential factor, they develop
intuition and joy through vision. The power of their electricity influences everyone who
lives with them. Their enjoyment only increases and never ends once they have been felt.
Intuitive Non-objective painting has nothing to do with the intellectual conception of
mathematical calculation. Mathematics or patterns of mechanical symmetry or intellectual
abstractions are not art. Of this thousands can be produced. Masterpieces are so rare
that they can hardly be found. Already twenty thousand years ago, the sun and moon
demonstrated to cavemen the artistically perfect form of a circle, without any intention
of being mathematical. Much later mathematical science used artistic forms to define its
intellectual calculations, yet without any intention of creating art or beauty.
Each Non-objective painting has its own charm, its own rhythm, its own melody. No one
can expect to feel or enjoy them all, nor at one glance in rush and haste while pre-
occupied. If one is not quiet, and receptive to new inventions of beauty, one cannot react
to their influence. While contemplating colors and forms in unforeseen combinations (like
listening to music), one may enjoy their rhythmic life, and their beautiful spacing. At least,
one of many different paintings may appeal to some very personal taste. Seeing it more
often will bring the joy it can put into one's soul. That is all that is wanted. The creative
art expression of modern times is an expression of a superior mankind. Materialistic
reproduction can no longer satisfy the need for culture in this highly advanced era.
Millions of reproductions are produced by a hundred thousand painters every year who
are neither creators, nor artists, nor prophets, nor builders towards a new development.
Due to the work of Non-objective painters, new form problems first in Cubism, then in
Abstractions, and finally in Non-objectivity have been solved. Engineers and architects used
these form solutions due to sixty years of research by progressive painters to increase the
efficiency of civilization.
Earthly happenings are intellectually perceived and visually recorded. Great artists have
proven that the eye can outgrow its primary and ordinary function, as a receiving station
of practical information for our daily needs.
The eyesight of many has progressed from earthly observation to cosmic vision — from a
practical, useful, intellectual information exchange, into a medium for the intuitive capacity
to receive spiritual joy, receptive to the influence and visual expression of cosmic power.
When the eye develops vision, it becomes a medium of spirituality, which as a consequence
enables leadership in good taste and reaction to the rhythm of harmony and order. Those
in life who fail to submit to order ignore success. Order is the safeguard of life as disorder
is the end of rhythm. Confusion is energy wasted, while simplicity of order is time
gained. Creative order through art's educational influence brings practical gain. As it
becomes constantly more important to order the space in which we live, acquisition of
rhythmic balance in our daily surroundings is needed for all to the feeling of well-being
and comfort. It must be learned early, and in schools, through the creativeness of art.
Confused environments no longer satisfy the masses influenced by settings of modern
architecture and furniture in motion pictures. Rhythm simplifies life and brings success by
creating beauty. Sense for refinement is needed to enjoy the simplicity of our modern style,
beautiful only through proper spacing and rhythm which can be learned from Non-
objective paintings.
It is beauty that humanity needs and wants in all actions, surroundings and relations to
others, and beauty it is which Non-objective painting is bringing to those who can feel it.
Yet this is not their main importance. Outstanding is their power to uplift and influence the
onlooker and their mysterious faculty to improve those who live with them, by creating or
strengthening in them the sense for order to acquire a rhythmic balance in life. They are
useful and restful especially to the mind of those who are tired from daily worries and
who through their help can forget earth.
These Non-objective masterpieces are influential on all those who give time to their spiritu-
ality. Like music they need loving contemplation in order to enjoy their Rhythm and Balance
of Spacing, Motifs, Colors, and Forms. Intellectual reasoning prevents intuitive reaction to
their beauty. The progress of humanity must be intuitively developed. Anything lacking in
spirituality is ultimately doomed. It is spirit, cosmic order, and creation of beauty which
originates the work of art.
Non-objectivity and its usefulness may not yet appeal to the masses whose crave for
sensation is common knowledge. For many it needs development to appreciate art. Children
should subconsciously become influenced in surroundings with art to acquire loving need for
higher standards and learn to enjoy the discipline for the upkeep of culture. Masses
follow the leaders of culture once the new era is established.
The sensation of the object has outlived itself, as there is not any surprise left in it, and the
mind is tired of too much reality. Reproductive sensation of earthly happenings in the
world is brought before our eyes daily by the abundance of photographs, colorprints,
and motion pictures, all full of meaning and reality, but without any uplifting quality.
One hundred years ago people had to learn to recognize objects on the flat surface of a
photograph. Trained by surroundings overflowing with reproductions most every child to-
day knows how to reproduce earthly objects.
The leaders of this era of art are too far advanced to call as creative art the mere skill to
reproduce which even the cavemen and medievals already had accomplished to more
or less perfection. Reproduction can be artistically done and always will be a valuable
education to train the technical skill of hands and eyes in the organic development from
reproduction to creation.
Accidental results, which children get who bang on the piano or fill a space with colors
and forms without organization have no spiritual faculty to uplift. Therefore they are not
art. Most painters trying to create Non-objective painting achieve merely dull decorations
or simple patterns without any spiritual message. Many crazy isms like Surrealism which
confuse the public are nothing else but a concealment of failure by those painters, who
tired of Academism, are unable to create intuitively those unearthly masterpieces to which
the spiritual development in art has now come.
Fidelity to the materialistic world seems very wonderful to many who consider it the sum
total of art and believe that almost anyone can make circles and cubes. But these basic
forms, like the keyboard of a piano, are to be used only as mediums for creating with
them spiritual values and for conveying the uplifting, rigorous beauty and measure of
space, form and line.
Non-objective painting is the culmination of spiritual power made intuitively visible. The
forms and colors we see are secondary to their spiritual rhythm which we feel. If this
spiritual rhythm is lacking a Non-objective painting is no masterpiece but at best a nice
pattern if not a boring decoration.
As long as one does not want to compose music or create paintings of free invention
oneself, one does not require knowledge of the rhythmic order of counterpoint and
spiritual organization with which art is created. The enjoyment in a masterpiece increases
years after whether in music or in painting.
Most any master of creative painting can develop an object through Academic, Impres-
sionistic, Expressionistic, Cubistic, or Abstract reproduction and demonstrate with it the
different isms which logically and consequently have developed the steps to the ultimate
goal, the Non-objective creation. Here are briefly the essential isms which developed
objectivity.
Academism: In the academic painting objects are presented most realistically like in photography, using
light, shadow and perspective to create a third but fake dimension. Perspective though greatly admired by
the inexperienced layman is an easily acquired accomplishment and can be taught in one lesson to
anyone.
Impressionism: The impressionistic picture reflects the painter's casual impression of forms and colors or
catches moving action of nature's happenings. While the academic painter paints one view of all he sees,
the impressionist may combine two visual impressions. As for instance, letting a galloping horse seemingly
fly with all four legs up in the air while actually one leg at least is on the ground.
Expressionism: The expressionistic picture emphasizes certain lines or forms which in the artist's opinion
increases the strength of his conception of nature and in reproducing exaggerates his choice of several
expressive essentials of an object.
Cubism: The cubistic picture still shades with light and dark and even uses sometimes the deception of a third
dimension to create an objective organization with cubistic forms.
Abstraction: The abstract picture abstracts the object to its last constructive part but discards perspective,
while light and darkness are used as tonal qualities only, if at all, and inventive themes are already com-
bined to play their part to enrich nature's pattern.
All these isms derive their inspiration from an object, while the Non-objective picture stands
by itself as an entirely free creation, conceived out of the intuitive enjoyment of space.
This apparently advanced Non-objective painting is in reality the artistic realization of
the present intense dynamic impetus of our time, from which great progress results. The
most inartistic people are usually those who oppose art as it is beyond their comprehension
and they are unable to feel its joy. All the layman has to give to the masterpiece is time to
send its appeal into his higher self, when he may be least aware and forgets to use his eyes
to look for earthly objects or meanings which prevent an intuitive worthwhile reaction to
art. Non-objective paintings are priceless guides to the welfare of all who follow victori-
ous spirituality instead of defeated materialism. The beautiful Non-objective master-
pieces develop sense for culture and order in all those who give time to their useful,
joyous influence.
Considering the incredible fights which even impressionistic paintings brought
about only seventy years ago, it is remarkable that Non-objective painting
should be accepted, loved and attempted by so many. The materialistic
unrest today leads many to the need for a spiritual life and mental quiet.
Rhythmic action, spiritual uplift, exquisite joy, all this is given by Non-
objective paintings. Intuitive wealth is the treasure of one's own company.
Intellect is the enemy of intuition and intelligence. Intuition guides to friendly
actions, wise concessions and powerful leadership. Intellectual comprehen-
sion does not give intuitive intelligence, but intuition gives all comprehen-
sions. Intuition is a donor like our spirit, intellect only a receiver like our
bodies. Intellectually no one can grasp what is beyond the materialistic
necessities of life. Yet intuitively we feel precisely how to react to the
cosmic lead.
Anything lacking in spirituality is ultimately doomed. Only fame for cultural
achievements lasts over thousands of years while earthly deeds are soon
forgotten. Many Thousand years ago, the great Lao Tze left only one little
booklet unforgotten ever since at China's wall in which he denies as art
any reproductive skill. Plato declared that art in painting must be the crea-
tion of rhythm with absolute forms. This art has come. It took untold years
to develop it and to find for it a visionary, courageous, powerful, maecenas,
like Solomon R. Guggenheim, willing to proclaim in public his belief and
joy in beauty of art not yet recognized as such by all. The collection
represents outstanding works from one hundred years of evolution of paint-
ing from Delacroix, Seurat, Gauguin to Delaunay, Picasso, Marc, Chagall,
Gleizes, Leger, to come to Kandinsky and Bauer, and twenty-nine years of
Non-objective painting.
Also in this collection is represented the development of a genius, the
greatest of all painters, spiritually the most advanced artist whose influence
leads in the future. Rudolf Bauer, whose every work of Non-objectivity
is an accomplished masterpiece and so extraordinarily organized that no
space, no form, no point could be eliminated or changed without upsetting
the perfect organization of his creation. Also his works as a masterly
painter, writer, philosopher and musician proclaim to perfection, the new
ideal of spirituality. With unselfish help to other creative Non-objective
artists he is trying to develop with them the necessary counterpart to the
hundreds of thousands of materialistic painters alive. His latest works are
filled with a mysterious, powerful life which no one else has achieved ever
before in painting.
Who does not want to compose music or create paintings of free invention
does not require the knowledge of rhythmic counterpoint and spiritual
organization with which art is created. Only since people learned to hear
even subtle variations in the apparent repetition of jazz the great fugues
of Bach became approachable to the masses.
8
This today enables Bach's music to be played to full houses for an entire
evening. While only ten years ago, his wonderful variations and tone
motifs sounded like dull exercises to most untrained ears, and those who
felt the beauty of Bach's fugues were considered highbrows of the first
order. It shows how time is needed for the average to get accustomed
to new possibilities in the enchantment of beauty's elevating influence.
With architects, engineers and designers using motifs from Non-objective
paintings for buildings, engines, advertisements, window-displays and so
on, the layman is gradually getting acquainted with their beauty and the
origin of this creative art.
Bach and Beethoven's uniqueness in music is still outstanding after centuries.
When composers spiritually advanced even their friends became unable
to follow. Ears had to get accustomed to new tone formalities, to be able to
react to their message of beauty. Not until composers of unimportance stole
motifs from the big inventions of genius and introduced them bit by bit
through dance music or songs was it that the work of Bach or Beethoven
became slowly familiar to all ears and that symphonies and concertos
of masters became acquainted to the average listeners. By then the great
masters had died in poverty. (For the greatest work of Beethoven's genius,
the Ninth Symphony, not even Goethe wanted to send fifty guldens to
subsidize its publication.) There was no understanding visionary maecenas,
who like Mr. Guggenheim realized in the lifetime of genius the far-
reaching importance of their work and who despite controversy and
misunderstanding subsidized and confirmed the creation of great culture for
the benefit of his country and humanity.
The eminence in the creation of music when Bach, Mozart and Beethoven
lived to create their eternal works was just as great in sublimity as this
epoch is in the creation of painting. As the fugues of Bach and sym-
phonies of Beethoven were never equalled since in centuries this collec-
tion's outstanding masterpieces will not be duplicated now nor in times
to come as great epochs of art are started by genius only.
The possibility of educating everyone to intuitive reaction, instead of intel-
lectual calculation, may seem to be Utopia. However, extraordinary as it
may seem, Utopias come true. One of them is the present great Solomon
R. Guggenheim Foundation to establish the power of Non-objectivity. Its
collection, its scholarships, its help to living artists is bringing to the public
a height of modern culture and is not only working for the benefit of the
United States of America but for the religious welfare of mankind.
We live indeed in the most interesting epoch which human beings were
ever fortunate to witness — yet we can only benefit from its importance if
we are willing to be open-minded and realize the great advance of our
times while it is in progress. Those people who only love the styles of past
epochs are not giving style and importance to their own period. Afraid to
create, they are unimportant, already forgotten while still alive. It is rhythm
which molds the character of a special style. Distinguished by rhythm a
perfect organization is always beautiful through its harmony.
Non-objective paintings as companions to our daily life will spread
spirituality, rest, pleasure, beauty, and earthly forgetfulness, but most
important a joyful subconscious influence, to develop in us the wonderful
faculty of intuition with which genius has created them and which to develop
increases our real value.
Intellectual thinking makes us fallible, intuitive feeling makes us wise.
Top of culture is where art is. Art and culture like sun cannot be old-
fashioned or modern. They shine as a blessing to humanity, timeless and
eternally.
A league for spiritual leadership of culture will be successful where a
League of Nations for materialistic claims was bound to fail. The coming
millennium will bring Olympics of spiritual advance to proclaim the most
important task of humanity.
As long as the cosmic rule of sun, stars and earth has proven the undefeated
wisdom and order of super-earthly guidance it is fair to assume complete
safety in siding with this victorious creator, in opposition to those who
attack with mis-comprehension every advance in the increase through
spirituality. Although the masses live from this creative wisdom they do not
wish to feel it, afraid to realize that materialism is ultimately doomed to
decay. Cosmic contact possible to humans through intuition is the only safe
escape and happy start.
In the dark ages of individualistic convulsions materialistic disorder pre-
vented the joyous power of spiritual rhythm. We are entering the bright
millennium of cooperation and spirituality with its love for order and
rhythm. Order is the safeguard of life in the power of rhythm.
HILLA REBAY
RUDOLF BAUER, No. 167, "SPIRITUAL PLEASURES"
!W!)Mr
RUDOLF BAUER, No. 155, "RED FUGUE"
RUDOLF BAUER, No. 200, "ALLEGRETTO"
RUDOLF BAUER, No. 127, "ORANGE ACCENT"
RUDOLF BAUER, No. 169, "RED TRIANGLE"
RUDOLF BAUER, No. 192, "YELLOW ACCENT"
RUDOLF BAUER, No. 103, "SCHERZO"
RUDOLF BAUER, No. 149, "INVENTION'
\
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RUDOLF BAUER, No. 186, "DARK ACCENTS"
RUDOLF BAUER, No. 191, "ALLEGRO"
V
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RUDOLF BAUER, No. 157, "BLUE BALLS"
RUDOLF BAUER, No. 201, "INTERMEZZO"
RUDOLF BAUER, No. 129, "RED CIRCLE"
RUDOLF BAUER, No. 184, "COUNTER FUGUE"
■
RUDOLF BAUER, No. 161, "DELICACIES"
*
RUDOLF BAUER, No. 166, "DANCING BALLS"
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VASILY KANDINSKY, No. 333, "POINTED AND ROUND"
VASiLY KANDINSKY, No. 241, "BLACK LINES"
VASILY KANDINSKY, No. 265, "ABOVE AND LEFT'
VASILY KANDINSKY, No. 263, "ONE CENTER"
&&
■
VASILY KANDINSKY, No. 264, "YELLOW SURROUNDING"
1 RUDOLF BAUER
Improvisation (1915)
Oil. 35 x 45Vi
2 RUDOLF BAUER
Yellow Circle (1915)
Oil. 21'/2 x 17'/2
3 RUDOLF BAUER
Fugales 9 (1916)
Oil. 43 x 59
4 RUDOLF BAUER
Trombino (1915-17)
Oil. 24 x 34
73
5 RUDOLF BAUER
Composition 28 (1916-1917)
Oil. 43 x 43
6 RUDOLF BAUER
Fugales 3 (1917)
Oil. 58Vi x 43
7 RUDOLF BAUER
Sinfonie 14 (1917)
Oil. 25 x 37
8 RUDOLF BAUER
Presto 10 (1917)
Oil. 28'/2 x 41
9 RUDOLF BAUER
Sinfonie 20 (1917-1918)
Oil. 39 x 49
SEE PLATE ON PAGE 55
10 RUDOLF BAUER
Andante 7 (1917-1920)
Oil. 30 x 45
11 RUDOLF BAUER
Sinfonie 18 (1917-1923)
Oil. 53 x 68!/2
74
12 RUDOLF BAUER
Presto (1917-1922)
Oil on canvas. 59 x 7Wi
13 RUDOLF BAUER
Animoso (1918)
Oil. 33 x 39
14 RUDOLF BAUER
Con Roso (1918)
Oil. 29 x 41
15 RUDOLF BAUER
Furioso XII (1918)
Oil. 31 x 43
75
16 RUDOLF BAUER
Larghetto (1918-1920)
Oil. 45 x 37
17 RUDOLF BAUER
Presto VIII (1918)
Oil. 31 x 47
RUDOLF BAUER
Tempo (1918)
Oil. 29 x 41
19
RUDOLF BAUER
Rondino (1918)
Oil. 29 x 41
20
RUDOLF BAUER
Aretta (1919)
Oil. 29 x 41
21
RUDOLF BAUER
Red Form (1919)
Oil. 24 x 33
22
RUDOLF BAUER
Presto 7 (1919)
Oil. 29 x 41
76
23 RUDOLF BAUER
Presto (1919)
Watercolor. 9x12
24 RUDOLF BAUER
Prestissimo (1919)
Oil. 34 x 39
25 RUDOLF BAUER
Sinfonie 21 (1919)
Oil. 47 x 59
26 RUDOLF BAUER
Sinfonie 23 (1919)
Oil. 29 x 39
27 RUDOLF BAUER
White Cross (1919)
Oil. 44 x SPA
77
28 RUDOLF BAUER
Megabrioso (1919-1920)
Oil. 43 x 59
29 RUDOLF BAUER
Bommb (1920)
Oil. 29 x 41
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A
30 RUDOLF BAUER
Blue Theme (1920)
Oil. 33 x 39'/2
31 RUDOLF BAUER
Allegro (1920)
Watercolor and tempera. 9 x 11%
32 RUDOLF BAUER
Symphony (1919-1923)
Oil. 53 x 6&A
33 RUDOLF BAUER
Andante (1920)
Watercolor. 12 x 9Vi
78
34 RUDOLF BAUER
Funebre (1920)
Watercolor. lO'/i x 9'/2
35 RUDOLF BAUER
Green Point (1920)
Oil. 24'/2 x 17'/2
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36 RUDOLF BAUER
Sinfonetta 7 (1920)
Oil. 29 x 38
79
37 RUDOLF BAUER
Improvisation 13 (1920)
Oil. 29/2 x 21'/2
38 RUDOLF BAUER
In Grey (1920-1923)
Oil. 31 x 39
39 RUDOLF BAUER
Multitudo (1920-1924)
Oil. 29 x 41
40 RUDOLF BAUER
Composition 121 (1921)
Oil. 35 x 29
41 RUDOLF BAUER
Allegretto (1921)
Watercolor. 9 x 7'/2
42 RUDOLF BAUER
Scherzo (1921)
Watercolor. 8 x 13
80
43 RUDOLF BAUER
Heavy and Light (1921)
Oil. 29 x 41
44 RUDOLF BAUER
Allegro (1921)
Watercolor. 8x13
45 RUDOLF BAUER
Con Fuoco (1921)
Oil. 35 x 49
46 RUDOLF BAUER
Composition (1921)
Oil. 39 x 44'/2
47 RUDOLF BAUER
Allegretto (1921)
Watercolor. 8x13
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81
48 RUDOLF BAUER
Linien (1921)
Oil. 39'/2 x 34
49
RUDOLF BAUER
Largo (1921)
Oil. 33 x 39
50 RUDOLF BAUER
Con Brio VIII (1921)
Oil. 29 x 44
51
RUDOLF BAUER
Gracioso (1921)
Oil. 29 x 37
52 RUDOLF BAUER
Andante (1922)
Oil. 24'/2 x 34!/2
53 RUDOLF BAUER
Largo (1922)
Watercolor. 8x13
82
54 RUDOLF BAUER
Allegro (1922)
Watercolor. 17 x 11
55 RUDOLF BAUER
Lines (1922)
Oil. 30'/2 x A5Vi
56 RUDOLF BAUER
Blue Line (1922)
Oil. 36 x 28!/2
83
57 RUDOLF BAUER
Vivace (1922)
Oil. 33 x 39
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/
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V
58 RUDOLF BAUER
Scherzo (1923)
Watercolor. 19!/2 x 12
59 RUDOLF BAUER
Con Brio (1923)
Watercolor, tempera and Chinese ink. 19% x 12V8
mmm
-**&£alfcii
60 RUDOLF BAUER
Andante (1923)
Pastel. 183/4 x 12'/2
84
61 RUDOLF BAUER
Serioso (1923)
Pastel. 12'/2x 9Vi
62 RUDOLF BAUER
White Point (1923)
Oil. 29 x 41
63 RUDOLF BAUER
Allegretto (1923)
Pastel. 12 x 9
85
64 RUDOLF BAUER
Gebu (1923)
Oil. 29 x 41
65 RUDOLF BAUER
Scherzo (1923)
Watercolor, tempera and Chinese ink. 14% x 1 OVi
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66 RUDOLF BAUER
Gadjens (1923)
Oil. 33/2 x 39
67 RUDOLF BAUER
Largo (1923)
Watercolor, tempera and Chinese ink. 9V4 x 12
68 RUDOLF BAUER
Allegro (1923)
Pastel. 195/s x 12!/2
86
69 RUDOLF BAUER
Scherzo (1923)
Pastel 20 x 14%
70 RUDOLF BAUER
Presto (1923)
Oil on canvas. 37 x 43'/2
71 RUDOLF BAUER
Elan (1923-1925)
Oil. 29 x 41
72 RUDOLF BAUER
Dainty (1923)
87
Pastel 18 x ll3/s
73 RUDOLF BAUER
White Fugue (1923-1927)
Oil on canvas. 52% x 76Vi
74 RUDOLF BAUER
Contrast (1924)
Oil. 29 x 41
m.
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ffl
3
75 RUDOLF BAUER
Cheerful (1924)
Watercolor, tempera and Chinese ink. 8'/s x 12%
76 RUDOLF BAUER
Rondo (1923)
Oil. 24'/2 x 35
77 RUDOLF BAUER
Rhythm (1924)
Watercolor, tempera and Chinese ink. 19% x 12%
88
78 RUDOLF BAUER
Four Crosses (1924)
Oil. 33 x 39
t
$
79 RUDOLF BAUER
Power (1924)
Watercolor, tempera and Chinese ink. 1 8Vs x ll5/s
80 RUDOLF BAUER
White Accent (1924)
Oil. 30 x 46
89
81 RUDOLF BAUER
Improvisation (1924)
Watercolor. 8x13
82
RUDOLF BAUER
Pizzicato (1924)
Oil. 29 x 41
83 RUDOLF BAUER
Contrast (1924)
Oil on ccnvas. 35% x 28
84
RUDOLF BAUER
Furioso (1924)
Oil. 29 x 41
85 RUDOLF BAUER
Lyrical Picture (1924-1925)
Oil on canvas. 33'/2 x 39%
90
86 RUDOLF BAUER
Scherzo (1925)
Oil. 33 x 3?'/2
87 RUDOLF BAUER
De Capo (1925)
Oil. 23 x 39
88 RUDOLF BAUER
Larghetto (1925)
Oil. 29 x 41
89 RUDOLF BAUER
Concentric (1925)
Oil. 29 x 41
91
90 RUDOLF BAUER
Con Brio VII (1925)
Oil. 24 x 33V5
91 RUDOLF BAUER
Allegro (1925)
Water-color. 24 x 20
92 RUDOLF BAUER
Larghetto (1925)
Watercolor, tempera and india ink. 17Vs x 12'/2
93 RUDOLF BAUER
Happy (1925)
Watercolor and tempera. 17'/s x 12'/2
92
94 RUDOLF BAUER
Quiet (1925)
Oil. 29 x 41
WW
*Qp'7A
I^^^Ck^IL.
^o\ ^M
^Kr rfl
95 RUDOLF BAUER
Lifted (1925)
Watercolor. 18'/4 x Il'/j
^/-
96 RUDOLF BAUER
Zzz (1925)
Oil. 29 x 41
93
97 RUDOLF BAUER
Scherzo (1925)
Watercolor, and Chinese ink. 205/s x 14%
98 RUDOLF BAUER
Largo (1925)
Watercolor and tempera. 12% x 9
99 RUDOLF BAUER
Two Counterpoints (1926)
Watercolor and tempera. 1 2!/2 x &Vz
V>
100 RUDOLF BAUER
Presto (1926)
Watercolor and tempera. 19% x 12%
94
101 RUDOLF BAUER
Lyric-Dramatic (1926)
Watercolor, tempera and Chinese ink. 19% x 13!A
102 RUDOLF BAUER
Cornerstone (1926)
Watercolor, tempera and Chinese ink. 19/2 x 13%
103-106 RUDOLF BAUER
Tetraptychon (1926-1930)
Oil on canvas — each painting 5VA x 51%
103 Scherzo 105 Andante
104 Allegro 106 Allegretto
SEE TETRAPTYCHON PLATE ON PAGE 4
SEE PLATE 103 ON PAGE 23
95
107 RUDOLF BAUER
Fugue (1926)
Watercolor, tempera and Chinese ink. 19% x 12%
108 RUDOLF BAUER
Red Square (1926)
Watercolor, tempera and Chinese ink. ]7Va x 12'/2
109 RUDOLF BAUER
Greenpoint (1926-1927)
Watercolor, tempera and Chinese ink. \7Va x 12Vs
110 RUDOLF BAUER
Contrast (1926-1930)
Watercolor, tempera and india ink. ]7Va x 12Va
96
Ill RUDOLF BAUER
Points (1927)
Oil. 40 x 27'/2
112 RUDOLF BAUER
Fugue (1927)
Oil. 50!/2 x 50'/2
:
i
97
113 RUDOLF BAUER
Cosmic Pleasures (1927)
Watercolor. 18% x ll'/s
114 RUDOLF BAUER
In Memory (1927)
Warercolor and Chinese ink. 9% x 12%
115 RUDOLF BAUER
Colored Circles (1927)
Watercolor, Chinese ink. 195/s x 12%
116 RUDOLF BAUCR
Composition (1927)
Oil. 51 x 51
117 RUDOLF BAUER
Fuguetta (1927)
Watercolor, Chinese ink. 1278 x 8V2
98
118 RUDOLF BAUER
Light and Heavy (1928)
Watercolor, tempera and Chinese ink. \7Va x 12/2
n
119 RUDOLF BAUER
Andante (1928)
Watercolor. 185/s x 125/s
120 RUDOLF BAUER
Allegro (1928)
Oil. 30 x 41!/2
99
121 RUDOLF BAUER
Fugue (1928)
Watercolor, tempera and Chinese ink. 17Vi x 12/2
122 RUDOLF BAUER
Curioso (1928)
Watercolor, tempera, india ink and paper. 20'/2 x 145/s
123 RUDOLF BAUER
Cheerful (1929)
Watercolor, tempera and india ink. WyA x \2Vi
124 RUDOLF BAUER
Presto (1929)
Watercolor and india ink. 1 8'/4 x ll5/s
100
125 RUDOLF BAUER
Great Fugue (1929)
Watercolor, tempera and india ink. 1714 x 121/2
126 RUDOLF BAUER
Circles (1929)
Oil. 30 x 42
127 RUDOLF BAUER
Orange Accent (1929-1931)
Oil. 511/2 X 511/2
SEE PLATE ON PAGE 17
128 RUDOLF BAUER
Larghetto (1930-1932)
Oil. 51% x 5114
129 RUDOLF BAUER
Red Circle (1930-1932)
Oil on canvas. 511/t x 511/4
SEE PLATE ON PAGE 35
101
130 RUDOLF BAUER
Yellow and Green (1930-1932)
Oil on canvas. 5114 x 5VA
131 RUDOLF BAUER
(1930-1932)
Oil on canvas. 5VA x 5VA
SEE TRIPTYCH PLATE ON PAGE 4
132-134 RUDOLF BAUER
Triptych (1930-1934)
Oil on canvas — ecch painting 5VA x 61
135 RUDOLF BAUER
Delicate Scherzo (1931)
Oil. 33 x 39
136 RUDOLF BAUER
Fugue (1931)
Watercolor, tempera and india ink. 19% x 12%
102
137 RUDOLF BAUER
Largo (1931)
Watercolor, tempera and Chinese ink. 17Vi x 1 2'/2
138 RUDOLF BAUER
Andante (1931)
Watercolor. 17V4 x 12'/2
103
139 RUDOLF BAUER
Pizzicato (1931)
Watercolor, tempera and Chinese ink. 17'/4 x 12V2
140 RUDOLF BAUER
(1931)
Watercolor, tempera and india ink. 19% x 12%
L«&&&$&f
141 RUDOLF BAUER
(1932)
Watercolor. 135/s x 18!/8
SEE PLATE ON PAGE 43
142 RUDOLF BAUER
Composition (1932)
Oil. 50Vi x 54'/2
143 RUDOLF BAUER
Top Point-Efficiency (1931)
Oil. 69 x 88'/2
144 RUDOLF BAUER
(1931)
Watercolor, tempera and Chinese ink. UVb x 12'/2
104
145 RUDOLF BAUER
Tryptich (1932)
3. Allegro
Oil. 51 x 27
146 RUDOLF BAUER
(1932)
Watercolor. 15% x 19'/8
105
147 RUDOLF BAUER
Tryptich (1932)
1. Andante
Oil. 51 x 23
148 RUDOLF BAUER
Tryptich (1932)
2. Scherzo
Oil. 51 x 33
SEE PLATE ON PAGE 25 AND COVER
149 RUDOLF BAUER
Invention (1933)
Oil. 51 x 51
150 RUDOLF BAUER
(1933)
Watercolor and india ink. 18'/2 x 17'/2
151 RUDOLF BAUER
(1933)
Watercolor. 17% x 1 3'/2
106
152 RUDOLF BAUER
Blue Center (1934)
Oil. 471/2 x 33
153 RUDOLF BAUER
Blue Triangle (1934)
Oil. 51 x 50
154 RUDOLF BAUER
Fugue Maestoso (1934)
Oil. 37 x 51
155 RUDOLF BAUER
Red Fugue (1934)
Oil. 5YA x 5VA
SEE PLATE ON PAGE 13
156 RUDOLF BAUER
Robu (1934)
Oil. 29 x 41
107
157 RUDOLF BAUER
Blue Balls (1934-1935)
Oil on canvas. 50% x 50%
SEE PLATE ON PAGE 31
158 RUDOLF BAUER
Center Accent (1935)
Oil. 38 x 51
159 RUDOLF BAUER
Balance (1935)
Oil on canvas. 50% x 50%
SEE PLATE ON PAGE 47
160 RUDOLF BAUER
Colored Swinging (1935)
Oil on canvas. 50% x 60%
SEE PLATE ON PAGE 39
161 RUDOLF BAUER
Delicacies (1935)
Oil on canvas. 53'/4 x 35Vi
162 RUDOLF BAUER
Fuguetta (1935)
Oil. 51 x 23
108
163 RUDOLF BAUER
Fuguetto (1935)
Oil. 31 x 58
164 RUDOLF BAUER
Orange Square (1935-1937)
Oil. 51 x 45
•
C
0
<*
♦
165 RUDOLF BAUER
Black and Yellow (1935)
Oil on canvas. 50% x 503/4
109
166 RUDOLF BAUER
Dancing Balls (1935-1938)
Oil. 51 x 51
167 RUDOLF BAUER
Spiritual Pleasures (1935-1938)
Oil. 51 x 51
168 RUDOLF BAUER
Green Form (1936)
Oil. 50'/2 x 67
SEE
PLATE
ON
PAGE
41
SEE
PLATE
ON
PAGE
11
SEE
PLATE
ON
PAGE
53
SEE
PLATE
ON
PAGE
19
SEE
FRONTISPIECE PLATE
SEE
PLATE
ON
PAGE
49
SEE
PLATE
ON
PAGE
51
169 RUDOLF BAUER
Red Triangle (1936)
Oil. 49'/2 x 4VA
170 RUDOLF BAUER
The Holy One (1936)
Oil. 50 x 50
171 RUDOLF BAUER
Points (1936)
Oil. 49!/2 x 41!/2
172 RUDOLF BAUER
Three Points (1936)
Oil. 40 x 75
173 RUDOLF BAUER
Scherzo (1936)
Watercolor. 17 x 12'/2
174 RUDOLF BAUER
Light Circle (1936)
Oil. 473/8 x 47%
175 RUDOLF BAUER
Yellow Square (1936-1938)
Oil. 52 x 50'/2
110
176-179 RUDOLF BAUER
Tetraptychon II (1936)
176 1. 50 x 19
177 2. 51 x 19/2
178 3. 51 x 19'/2
179 4. 50/2 x 19!/2
Oil.
SEE PLATES ON PAGES 8 AND 9
180 RUDOLF BAUER
Green Square (1937)
Oil. 46'/2 x 39
a
r
i r-
1
■ ■■■
■
181 RUDOLF BAUER
Yellow Accents (1937)
Oil. 55 x 31
182 RUDOLF BAUER
Light Fugue (1937)
Oil. 39 x 46/2
111
183 RUDOLF BAUER
Fugue (1937)
Oil. 39 x 39
SEE PLATE ON PAGE 37
184 RUDOLF BAUER
Counter Fugue (1937)
Oil. 39!/2 x 47
SEE PLATE ON PAGE 45
185 RUDOLF BAUER
Squares (1937)
Oil. 60 x 60
SEE PLATE ON PAGE 27
186 RUDOLF BAUER
Dark Accents (1937)
Oil. 39 x 39
O
187 RUDOLF BAUER
Yellow (1937)
Oil. 39 x 54
188 RUDOLF BAUER
Red Square (1937)
Oil. 68!/2 x 88
.►.
189 RUDOLF BAUER
Purple Theme (1937)
Oil. 51 x 51
112
190 RUDOLF BAUER
White Theme (1937)
Oil. 51 x 51
191 RUDOLF BAUER
Allegro (1938)
Oil. 5V/2 x 50Yz
192 RUDOLF BAUER
Yellow Accent (1938)
Watercolor. 15 x 14
193 RUDOLF BAUER
Black Triangle
Oil. 36 x 28
194 RUDOLF BAUER
Dark Square (1938)
Oil. 51 x 55
113
195 RUDOLF BAUER
Contrast (1938)
Oil. 31!/2 x 41
SEE PLATE ON PAGE 29
SEE PLATE ON PAGE 21
196 RUDOLF BAUER
Red Staff (1937)
Oil. 50 x 51
197 RUDOLF BAUER
Austerity (1938)
Oil. 51 x 51
*
198 RUDOLF BAUER
Pink Circle (1938)
Oil. 51 x 61
V
I
1
I
199 RUDOLF BAUER
Andante (1938)
Oil. 50 x 51
SEE PLATE ON PAGE 15
200 RUDOLF BAUER
Allegretto (1937-1938)
Oil. 45 x 40
114
201 RUDOLF BAUER
Intermezzo (1937-1938)
Oil. 51 x 501/2
SEE PLATE ON PAGE 33
202 RUDOLF BAUER
Blue Point (1938)
Oil. 35'/2 x 28
203 RUDOLF BAUER
Larghetto (1938)
Oil. 3T/2 x 431/z
A#'
204 RUDOLF BAUER
Rounds and Triangle (1938)
Oil. 501/2 x 50
• •
115
205 RUDOLF BAUER
Composition Blue Balls
Second Version
Oil. 501/2 x 51
206 RUDOLF BAUER
White Caro (1938)
Oil. 29!/2 x 23!/2
207 RUDOLF BAUER
Red Theme (1938)
Oil. 37'/2 x 29
208 RUDOLF BAUER
Black Circle (1938)
Oil. 47 x 39!/2
V
V
"p
209 RUDOLF BAUER
Two Purple Balls (1938)
Oil. 39!/2 x 56'/2
116
210 RUDOLF BAUER
Two Themes (1938)
Oil. 43 x 43'/2
211 RUDOLF BAUER
Spirituality (1938)
Oil. 45'/2 x 31
117
212 RUDOLF BAUER
Triangles (1938)
Oil. 51 x 39'/2
213 RUDOLF BAUER
Composition 115 (1939)
Oil. 51 x 45'/2
214 RUDOLF BAUER
Allegro (1938-1939)
Oil. 49!/2 x 37Vi
215 RUDOLF BAUER
Purple Center (1939)
Oil. 43'/2 x 43
216 PENROD CENTURION
Composition (1939)
Watercolor. MVi x 12
118
217 PENROD CENTURION
Composition (1939)
Watercolor. 13x11
218 PENROD CENTURION
Composition (1939)
Watercolor. 11x9
219 JOSETTE COEFFIN
No. 7
Oil on paper. 24'/2 x 195/s
119
220 JOSETTE COEFFIN
No. 6
Oil on paper. 25V4 x 18%
221 ROBERT DELAUNAY
Circular Rhythm
Oil. 460 x 105
222 CESAR DOMELA
College on Grained Veneer (1935)
193/sx 133/s
223 CESAR DOMELA
Brown Blue Construction (1937)
19% x 193/4
224 CESAR DOMELA
Wood and Glass Montage (1937)
41 x 293/4
120
225 CESAR DOMELA
Blue and Black Construction (1937)
20 x 13'/2
226 CESAR DOMELA
Red Line (1938)
Construction. 14 x \5Vi
227 CESAR DOMELA
Copper Montage (1938)
Construction. 24 x 12
121
228 JOHN FERREN
Composition 6 (1937)
Oil. 32 x 25'/2
229 JOHN FERREN
Composition No. 34 (1937)
Plaster. 16x16
-<]
\
229a JOHN FERREN
Composition No. 31 (1937)
Plaster. 19'/s x 23%
230 ALBERT GLEIZES
"Voltige Aerienne" (1917)
Oil on canvas. 39% x 293/s
231 ALBERT GLEIZES
(1921)
Oil on canvas. 35 x 27Vi
122
123
232 ALBERT GLEIZES
Composition (1924)
Tempera. 7Vi x 53A
233 ALBERT GLEIZES
(1927)
Tempera. 6 x 4Vi
234 ALBERT GLEIZES
(1927)
Tempera. 6V2 x 5
235 ALBERT GLEIZES
Religious Feeling (1929)
Oil. 78'/2 x 60
I'
A
4*
236 ALBERT GLEIZES
Composition (1930)
Oil. 75 x 45
237 JUAN
GRIS
Black White Tan
(1917)
Oil. 21
x 12!/2
238 JUAN
GRIS
Pink and Green
(1917)
Oil. 32 x 21
124
239 VASILY KANDINSKY
Improvisation (1912)
Oil. 45 x 62V2
240 VASILY KANDINSKY
Light Form (1912)
Oil. 47 x 54'/2
241 VASILY KANDINSKY
Black Lines (1913)
Oil on canvas. 50Vi x 50'/2
SEE
PLATE
ON
PAGE
57
SEE
PLATE
ON
PAGE
59
SEE
PLATE
ON
PAGE
65
242 VASILY KANDINSKY
Picture with Three Spots (No. 196, 1913)
Oil on canvas. 47 x 43
243 VASILY KANDINSKY
Great Fugue (1913)
Oil. 50'/2 x 50'/2
r
.' *
'\P'*
244 VASILY KANDINSKY
Light Picture (1913)
Oil on canvas. 30% x 3914
\ - .
Wa
125
245 VASILY KANDINSKY
The White Edge (1913)
Oil on canvas. 55 x 75'/2
246 VASILY KANDINSKY
(1917)
Watercolor. 10 x 11
*m.
i . ;^--
¥p$r%,
J-.'."'
247 VASILY KANDINSKY
Lyrical Invention (1918)
Tempera and Chinese ink. lO'/s x 13'/2
248 VASILY KANDINSKY
Light Top Heavy (No. 22, 1918)
Watercolor. 12!/2 x 8
249 VASILY KANDINSKY
(1918)
Watercolor. 7Vi x 18
■$SfcP*£
250 VASILY KANDINSKY
(1918)
Watercolor. 9% x 13'/2
126
-
251 VASILY KANDINSKY
No. 4 (1919)
Pen drawing. 13x9
252 VASILY KANDINSKY
(1922)
Watercolor. 17% x 1 6'/s
253 VASILY KANDINSKY
(1922)
Watercolor. 17% x 15%
127
254 VASILY KANDINSKY
No. 259 (1923)
Oil. 37Va x 36
255 VASILY KANDINSKY
Open Green (No. 263, 1923)
Oil. 38'/2 x 38V2
256 VASILY KANDINSKY
Red in Blue (No. 100, 1923)
Watercolor. 16x12
257 VASILY KANDINSKY
Emphasized Corners (No. 247, 1923)
Oil on canvas. 50% x 50%
258 VASILY KANDINSKY
Tramonta (No. 61, 1923)
Watercolor. 18 x 15V2
128
259 VASILY KANDINSKY
(1923)
Watercolor and ink. 16 x 12
260 VASILY KANDINSKY
White Point (No. 248, 1923)
Oil. 36 x 28
261 VASILY KANDINSKY
(1923)
Watercolor and Chinese ink. 14'/s x 9/4
129
262 VASILY KANDINSKY
Composition 8 (No. 260, 1923)
Oil on canvas. 54'/2 x 78'/2
SEE
PLATE
ON
PAGE
69
SEE
PLATE
ON
PAGE
71
SEE
PLATE
ON
PAGE
67
263 VASILY KANDINSKY
One Center (1924)
Oil. 5AVi x 38!/2
264 VASILY KANDINSKY
Yellow Surrounding (No. 269, 1924)
Oil. 39 x 38
265 VASILY KANDINSKY
Above and Left (1925)
Oil. 2714 x 19'/2
266 VASILY KANDINSKY
(1924)
Watercolor and Chinese ink. 1 3!/2 x 9Vz
267 VASILY KANDINSKY
Lighter (No. 272, 1924)
Oil. 27 x 23
268 VASILY KANDINSKY
Beige Gray (No. 165, 1924)
Watercolor. 135/s x 9
130
269 VASILY KANDINSKY
On Violet (No. 149, 1924)
Watercolor. 13'/2 x 9
270 VASILY KANDINSKY
Composition (1924)
Watercolor
271 VASILY KANDINSKY
No. 278 (1924)
Oil. 21!/2 x 19
131
272 VASILY KANDINSKY
Black Circle (No. 161, 1924)
Watercolor. 18% x 13
273 VASILY KANDINSKY
Light Unity (No. 308, 1925)
Oil on Cardboard. 27Vi x 19'/2
274 VASILY KANDINSKY
Stiff Pointed Round (1924)
Watercolor. 14 x 14'/i
275 VASILY KANDINSKY
Black Triangle (No. 320, 1925)
Oil. 30'/2 x 21
276 VASILY KANDINSKY
Orange Streak (1925)
Hand Colored Lithograph. 18 x 14
132
277 VASILY KANDINSKY
Green Split (No. 302, 1925)
Oil. 27'/2 x 19'/2
278 VASILY KANDINSKY
Round (No. 368, 1926)
Oil. 20 x 1814
133
279 VASILY KANDINSKY
Extended (No. 333, 1926)
Oil. 37 x \Th
280 VASILY KANDINSKY
Confirming (No. 355, 1926)
Oil on canvas. 17% x 21
281 VASILY KANDINSKY
Pointed Accents (No. 342, 1926)
Oil on canvas. 30% x 49
282 VASILY KANDINSKY
Sounds (No. 343, 1926)
Oil. 23!/8 x 23'/s)
283 VASILY KANDINSKY
Some Circles (1926)
Oil. 55'/s x 55Vs
284 VASILY KANDINSKY
Calm (No. 357, 1926)
Oil. 195/s x 18'/8
134
285 VASILY KANDINSKY
Yellow Circle (No. 335, 1926)
Oil. 27 x 19
.
^H^H i^Bfl
286 VASILY KANDINSKY
Tension in Red (1926)
Water-color. 25!A x 20'/2
287 VASILY KANDINSKY
Delicate Joy (1927)
Watercolor. 8 x 7Va
135
288 VASILY KANDINSKY
Floating (No. 395, 1927)
Oil on cardboard. 15% x 18%
„'^"s-
289 VASILY KANDINSKY
Green Sigh (No. 207, 1927)
Watercolor. 19 x 12'/2
290 VASILY KANDINSKY
Sign with Accompaniment (1927)
Oil. 31 x 20'/2
291 VASILY KANDINSKY
Hard but Soft (No. 220, 1927)
Watercolor. 17 x 12'/2
136
292 VASILY KANDINSKY
In the Net (No. 246, 1927)
Watercolor. 19 x 1 2V2
293 VASILY KANDINSKY
Mild Heart (1927)
Oil. 19!/2 x 14'/2
137
294 VASILY KANDINSKY
No. 225 (1927)
Watercolor. 19 x 12!/2
if/
295 VASILY KANDINSKY
Ink drawing. (1927)
14 x 9%
296 VASILY KANDINSKY
Small Square (No. 250, 1928)
Watercolor. 12'/2 x 19
297 VASILY KANDINSKY
Glowing Up (No. 327, 1928)
Watercolor and Chinese ink. 18 x 19!/4
298 VASILY KANDINSKY
Scherzo (No. 213, 1927)
Watercolor. 13'/2 x 9'/2
138
299 VASILY KANDINSKY
Delicacy in Green (No. 295, 1928)
Watercolor. 20'/2 x 11
300 VASILY KANDINSKY
Quiet (No. 417, 1928)
Oil. 20 x 301/2
139
301 VASILY KANDINSKY
Echo (No. 296, 1928)
Watercolor. I8I/2 x 9'/2
LiijtfTO
:S
-;«
IB
302 VASILY KANDINSKY
Topping (1928)
Watercolor. 191/s x 125/s
303 VASILY KANDINSKY
Red Staff (No. 121, 1928)
Oil. 36 x 20
304 VASILY KANDINSKY
Ripped (No. 262, 1928)
Oil. 19 x 12'/2
140
305 VASILY KANDINSKY
Triangle (No. 162, 1928)
Watercolor. 13 x 19
306 VASILY KANDINSKY
Colored Sticks (1928)
Watercolor. 16x12
307 VASILY KANDINSKY
Gone (1928)
Watercolor. 18 x 15
141
308 VASILY KANDINSKY
Light and Heavy (No. 457, 1929)
Oil. 19% x 19VS
,'.-<%,
Wm
309 VASILY KANDINSKY
Decided Points (No. 463, 1929)
Oil. 27 x 13
310 VASILY KANDINSKY
Dull Violet (1927)
Watercolor. 19 x 12%
311 VASILY KANDINSKY
No. 456 (1929)
Oil on cardboard. 13% x 9Va
142
312 VASILY KANDINSKY
Cold Speed (No. 349, 1929)
Watercolor. 20 x 9'/2
313 VASILY KANDINSKY
Oppressed (No. 471, 1929)
Oil. 27 x 19
143
314 VASILY KANDINSKY
Yellow Center (1929)
Oil. 18 x 15
315 VASILY KANDINSKY
Light Blue (No. 443, 1929)
Oil on canvas. 20% x 26Vi
316 VASILY KANDINSKY
Circles in Brown (No. 477, 1929)
Oil. 19 x 19
317 VASILY KANDINSKY
Carrying Round (No. 346, 1929)
Watercolor. 19x17
\vS3l
/*\
318 VASILY KANDINSKY
For and Against (No. 461, 1929)
Oil. 13% x 19'/4
319 VASILY KANDINSKY
Strange (1929)
Watercolor. 13 x 13
144
320 VASILY KANDINSKY
Hard Soft (No. 474, 1929)
Oil. 27 x 18%
321 VASILY KANDINSKY
Heated (No. 375, 1930)
Watercolor. lOVi x 20'/2
322 VASILY KANDINSKY
Hard Soft (No. 390, 1930)
Watercolor. \9Vl x 1 6V2
145
323 VASILY KANDINSKY
White Scar (No. 530, 1930)
Oil. 27 x 19
324 VASILY KANDINSKY
Scherzo (1930)
Watercolor. 8V2 x 6
0:
m
o.
"2\\
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325 VASILY KANDINSKY
Hardly (No. 492, 1930)
Tempera on plaster. 13 x 6Vi
326 VASILY KANDINSKY
Long Stripe (1930)
Watercolor. 20 x 15'/2
146
#
327 VASILY KANDINSKY
Thick Heavy (No. 385, 1930)
Watercolor. 18 x 12
1*1
.
328 VASILY KANDINSKY
Three Arrows (1931)
Watercolor. 183/4 x 12'/2
147
329 VASILY KANDINSKY
No. 2 (1931)
Watercolor. 19 x 10
330 VASILY KANDINSKY
Light Blue (1931)
Watercolor. 15 x I8V2
331 VASILY KANDINSKY
Dreamlike (1932)
Watercolor. 20% x ]2Vi
332 VASILY KANDINSKY
Green on Green (1932)
Watercolor. 2OV2 x 12'/2
SEE PLATE ON PAGE 63
333 VASILY KANDINSKY
Pointed and Round (No. 293, 1935)
Oil on cardboard. 271/2 x 19%
148
334 VASILY KANDINSKY
Violet and Orange (1935)
Oil. 35 x 46
335 VASILY KANDINSKY
Little Balls (No. 555, 1935)
Watercolor. 18x9
149
336 VASILY KANDINSKY
Grill (1935)
Tempera. 20 x 12!/2
337 VA5ILY KANDINSKY
Voltige (No. 612, 1935)
Oil with sand on canvas. 32 x 39
338 VASILY KANDINSKY
Accompanied Contrasts (No. 613, 1935)
Oil with sand on canvas. 38Vi x 64
339 VASILY KANDINSKY
Two Circles (1935)
Oil. 28'/2 x 35
340 VASILY KANDINSKY
Green Accent (No. 623, 1935)
Oil. 32 x 39'/2
341 VASILY KANDINSKY
Horizontal Variations (No. 567, 1936)
Watercolor. ll'/2 x 19'/4
150
342 VASILY KANDINSKY
Rigid and Bent (1936)
Oil. 45 x 64
SEE PLATE ON PAGE 61
343 PAUL KLEE
Inscription (1926)
Watercolor and Chinese ink. 81/4 x 5%
344 FERNAND LEGER
Variations of Forms (1913)
Oil. 17!/2 x 231/2
345 FERNAND LEGER
Variation of Form (1913)
Oil. 38 x 49
151
346 FERNAND LEGER
Fugue Composition (1918)
Watercolor. 13 x 9!4
347 FERNAND LEGER
Fugue (1919)
Watercolor. 11 x 9'/2
348 FERNAND LEGER
Composition (1925)
Oil on canvas. 50Vi x 2>7Vi
349 FERNAND LEGER
Composition (1926)
Watercolor. 11 x 4%
152
1
350 FERNAND LEGER
Red Triangle (1929)
Oil. 36 x 231/2
351 FERNAND LEGER
Cross (1930)
Watercolor. 133/8 x \6Vi
352 FERNAND LEGER
Composition (1937)
Oil. 21 x 25
153
353 LADISLAUS MOHOLY-NAGY
Paint (1927)
Watercolor and Chinese ink. 11 x 15'/2
354 LADISLAUS MOHOLY-NAGY
T 1 (1926)
Oil on bakelite. 58!/2 x 17
355 LADISLAUS MOHOLY-NAGY
Tp 3 (1930)
Oil on bakelite. 5Va x \VA
356 LADISLAUS MOHOLY-NAGY
Tpl (1930)
Oil on bakelite. 24 x 56%
357 LADISLAUS MOHOLY-NAGY
Tp 2 (1930)
Oil on bakelite. 24 x 56%
358 LADISLAUS MOHOLY-NAGY
Construction 1280
Watercolor. 13'/2 x 20
154
359 OTTO NEBEL
Triangle (1927)
Watercolor. 10x8
360 OTTO NEBEL
Opus N. 450 (1935-
Oil. 55 x 23V2
938)
155
361 OTTO NEBEL
Quintetto (1934)
Tempera. 15 x 1 2!/2
362 OTTO NEBEL
Nobile (1936)
Watercolor. 15 x 12'/2
363 OTTO NEBEL
Arietta (1936)
Watercolor. 15 x 1 2'/2
364 OTTO NEBEL
Warm (1937)
Tempera. 16 x 10
:v=
365 OTTO NEBEL
Avanti (1937)
Tempera. 13 x 19'/2
366 OTTO NEBEL
In Between (1937)
Tempera. \7Va x 11/4
156
367 OTTO NEBEL
Scherzando Fiorentino (1937)
Tempera. 191/2 x 13'/2
368 OTTO NEBEL
Dreamlike (1937)
Tempera. I6V2 x 10%
157
369 OTTO NEBEL
Swinging (1937)
Tempera. I6V2 x 10
370 OTTO NEBEL
Beginnings (1937)
Watercolor. 12 x 8'/2
^"
■ — />.
371 OTTO NEBEL
Cross (1937)
Watercolor. 12 x 5Vi
*m
%
372 OTTO NEBEL
Lifted (1937)
Tempera. 15'/2 x lO'/i
158
373 OTTO NEBEL
Subdued (1937)
Tempera. 16 x ll'/i
374 OTTO NEBEL
Enfolded (1937)
Watercolor. 10 x 16
375 OTTO NEBEL
Sonora (1937-1938)
Tempera. 11x16
159
376 OTTO NEBEL
Happy (No. 495, 1937-1938)
Oil. 39!4 x 175/8
377 BEN NICHOLSON
Composition (1934)
Synthetic board. 6Va x 10
378 BEN NICHOLSON
(1932)
Oil on wood. 10 x 11
379 PABLO PICASSO
Composition (1918)
Oil. 13'/2 x 101/2
380 HILLA REBAY
Composition (1915)
Oil. 52 x 39
160
381 HILLA REBAY
Improvisation (1922)
Paperplastic with watercolor. lP/s x 8%
382 HILLA REBAY
Scherzo (1924)
Paperplastic with watercolor. ll'/s x 8%
383 HILLA REBAY
Con Brio (1931)
Watercolor. 93/s x 8%
"■*$*
161
384 HILLA REBAY
Fugue (1932)
Paperplastic. 8x5
3 85 HILLA REBAY
Erect (1937)
Paperplastic. 17 x 13'/2
386 HILLA REBAY
Upward (1938)
Paperplastic. 17'/2 x 13'/2
*&_.J<|5
387 HILLA REBAY
Floating (1939)
Paperplastic. 1714 x 13'/2
162
f-
388 HILLA REBAY
Distant (1939)
Paperplastic 17% x 1 3'/2
-
389 HILLA REBAY
Two Rings (1939)
Paperplastic 17% x 13'/2
163
390 HILLA REBAY
Gray in Gray (1939)
Paperplastic 17% x 13!/2
391 HILLA REBAY
Intensity (1939)
Paperplastic. 17% x 13'/2
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392 HILLA REBAY
Lyrical Invention (1939)
Paperplastic. 17V4 x 13'/2
393 HILLA REBAY
Counter Fugue (1939)
Paperplastic. 17}A x 13'/2
L
394 W. SHWAB
Construction 2 (1928)
Oil. 23 x 31'/2
164
395 W. SHWAB
Construction (1928)
Oil. 19% x 35%
396 W. SHWAB
Construction 3 (1928)
Oil. 23% x 36
397 W. SHWAB
Construction II (1928)
Oil. 21 x 313/4
398 KURT SCHWITTERS
Merzbild 49A (1922)
Oil painted construction. 16% x
165
399 VIEIRA DA SUVA
Composition (1936)
Oil. 41 x 64
400 ROLPH SCARLETT
Composition (1938-1939)
Oil. 53 x 31
401 STYRSKY
(1927)
Watercolor. 9Vi x 16
402 STYRSKY
(1927)
Watercolor. U'/i x 13
403 TOYEN
(1927)
Watercolor. lO'/i x 14
404 GEORGES VALMIER
Fugue (1920)
Watercolor. 5 x 6% 166
405 GEORGES VALMIER
Composition (1919)
Oil. 45 x 28
406 GEORGES VALMIER
Fugue (1920)
Watercolor. 5 x 4%
167
407 GEORGES VALMIER
Scherzo (1920)
Watercolor. 5Vi x 4
408 GEORGES VALMIER
Improvisation (1922)
Watercolor. 10 x 614
409 GEORGES VALMIER
Fugue (1923)
Oil. 45 x 28
410 VORDEMBERGE-GILDEWART
Composition 96 (1935)
Oil. 28 x 37
k
411 VORDEMBERGE-GILDEWART
Composition 97 (1935)
Oil. 28 x 37
168
412 EDWARD WADSWORTH
Composition (1930)
Tempera. 24% x 39%
413 EDWARD WADSWORTH
Composition (1930)
Tempera. 24Vs x 34%
414 JEAN XCERON
Composition 242 (1937)
Oil. 45% x 31%
169
415 JEAN XCERON
Composition 226 (1937)
Oil. 25 x 21'/4
Artists are listed alphabetically; paintings chronologically.
Non-objective paintings are numbered 1 to 415.
Drawings and paintings with objective departure are numbered from 416 to 725. They
represent typical Impressionistic, Expressionistic, Cubistic and Abstract works which led
up to Non-objectivity.
Titles have been translated as closely as possible.
Non-objective paintings are frequently neither titled nor numbered by the artists.
All Non-objective paintings have been reproduced.
The dimensions of the paintings are given in inches — height by length.
Biographies are listed after pictures.
The Foundation also owns a collection of Graphics.
170
LIST OF REPRESENTATIVE PAINTINGS AND DRAWINGS WITH AN OBJECT INDICATING
THE HISTORICAL PROGRESS THROUGH IMPRESSIONISM, EXPRESSIONISM,
CUBISM, ABSTRACTION TO NON-OBJECTIVE ART
THE FOUNDATION ALSO OWNS A COLLECTION OF GRAPHICS
BY ARTISTS WHOSE BIOGRAPHIES ARE GIVEN
416 RUDOLF BAUER
Star Gazers (1911)
Drawing. 15 x 1 2'/2
417 RUDOLF BAUER
Promenade (1909)
Pastel. 20 x 13
418 RUDOLF BAUER
Maneuvres (1910)
Watercolor. 13x13
419 RUDOLF BAUER
Commanding Officers (1910)
Watercolor. 13x13
420 RUDOLF BAUER
Football (1910)
Ink and tempera. 19 x 13
421 RUDOLF BAUER
Flower Offer
Drawing. 18 x 11%
422 RUDOLF BAUER
Skijoring
Drawing. 18 x 11%
423 RUDOLF BAUER
Tennis Player, Girl
Drawing. 11 x 8%
424 RUDOLF BAUER
Tennis Player, Boy
Drawing. 11 x 8%
425 RUDOLF BAUER
Interview
Drawing. 18x12
426 RUDOLF BAUER
Lovers
Drawing. 18x12
427 RUDOLF BAUER
Abstraction (1911)
Drawing. 18x12
428 RUDOLF BAUER
Woman Seated
Drawing. 11% x 9
429 RUDOLF BAUER
Simplicity (1910)
Pencil. 14% x 10
430 RUDOLF BAUER
Two Figures
Pen and ink. 12 x 5%
431 RUDOLF BAUER
Cubic Composition (1911)
Pen and ink. 11% x 6%
432 PIERRE BONNARD
Dinner Table in Garden (1934)
Oil. 49 x 52%
433 DAVID BURLIUK
Futuristic Head (1908)
Oil. 21 x 16
434 HEINRICH CAMPENDONK
Saturday (1918)
Watercolor. 1 6'/e x 18'/8
435 MARC CHAGALL
I and the Village (1911)
Watercolor. 11% x 8%
436 MARC CHAGALL
Quarrel (1912)
Watercolor. 11% x 8%
437 MARC CHAGALL
Menageries (1912)
Watercolor. 12% x 6%
438 MARC CHAGALL
Paris through the Window (1913)
Oil. 52% x 543/4
439 MARC CHAGALL
The Beggar (1914)
Watercolor. 17 x 10%
440 MARC CHAGALL
The Remembrance (1914)
Watercolor. 6% x 13/2
441 MARC CHAGALL
Pleasure of Life (1914)
Oil. 34 x 22
442 MARC CHAGALL
The Tomb (1914)
Etching and watercolor. 4x9
443 MARC CHAGALL
Birthday (1915)
Oil. 31% x 3P/4
171
PAINTINGS WITH AN OBJECT
444 MARC CHAGALL
Night (1917)
Oil. 6x9
445 MARC CHAGALL
Flying Carriage (1918)
Watercolor. 7 x 9'/2
446 MARC CHAGALL
The Green Violinist (1918)
Oil. 77 x 42'/2
447 MARC CHAGALL
The Dream (1920)
Watercolor. 12'/2 x 17
448 MARC CHAGALL
Family Portrait (1922)
Watercolor. 8 x 10
449 MARC CHAGALL
Festival (1922)
Etching and watercolor. 10x7
450 MARC CHAGALL
Love Pleasure (1925)
Drawing. 10 x 12
451 MARC CHAGALL
Circus (1927)
Watercolor and ink. 12 x lOVs
452 MARC CHAGALL
The Pink Seat (1930)
Oil. 28'/2 x 23
453 MARC CHAGALL
In the Snow (1930)
Watercolor. 13 x 9'/2
454 MARC CHAGALL
Country Fete (1930-1932)
Illustration for "The Fables of
La Fontaine"
Gouache. 19!4 x 24%
455 MARC CHAGALL
The Village Street (1931)
Oil. 15 x 18
456 MARC CHAGALL
My Native House (1935)
Oil. 45'/2 x 34!/2
457 MARC CHAGALL
The Lovers (1935-1936)
Oil. 21/2 x 15
458 MARC CHAGALL
Celloplayer with Cat
Watercolor. 15'/2 x 9/2
459 MARC CHAGALL
Soldier
Oil. 25 x 18
460 MARC CHAGALL
Village and Violinist
Watercolor. 13!/2 x 1 6V2
461 EUGENE DELACROIX
Blacksmith
Drawing. 9 x 6'/2
462 ROBERT DELAUNAY
St. Severin (1909)
Oil. 53 x 64
463 ROBERT DELAUNAY
Eiffel Tower (1910)
Oil. 77% x 53
464 ROBERT DELAUNAY
The Town (1911)
Oil. 57 x 44
464a ROBERT DELAUNAY
Windows (1912)
Oil. 21/2 x 18
465 ROBERT DELAUNAY
Red Eiffel Tower (1920)
Oil. 66 x 30
466 LYONAL FEININGER
West Deep (1932)
Ink and watercolor. WA x 17
467 LYONAL FEININGER
Sardine Fisherman (1933)
Watercolor. 11x9
468 LYONAL FEININGER
Composition 1 (1933)
Watercolor. 6x11
469 LYONAL FEININGER
Fourmaster Schooner (1934)
Watercolor. 24V* x 15%
470 LYONAL FEININGER
Ship under Sail II (1935)
Oil. 17 x 10/2
471 EMIL FILLA
The Table (1922)
Oil. 17'/2 X 30/2
472 PAUL GAUGUIN
Phantasy
Hand colored wood cut. 8x16
473 ALBERT GLEIZES
Portrait of a Military Doctor (1914)
Oil. 37 x 40
474 ALBERT GLEIZES
Cubist Landscape (1912)
Oil. 14 x I6V2
172
PAINTINGS WITH AN OBJECT
475 ALBERT GLEIZES
Head in Landscape (1913)
Etching. 6/2 x 5Va
476 ALBERT GLEIZES
Town and River (1913)
Pend rawing. 7% x 6'/2
477 ALBERT GLEIZES
My Friend Theo (1914)
Watercolor. \7Vi x 13'/2
478 ALBERT GLEIZES
Chal Post (1915)
Oil. 39 x 29
479 ALBERT GLEIZES
Flags (1915)
Gouache. 39 x 29
480 ALBERT GLEIZES
Musician (1915)
Watercolor. 10x8
481 ALBERT GLEIZES
Musician (1915)
Oil.
482 ALBERT GLEIZES
Wall Street (1915)
Oil. 35 x 28
483 ALBERT GLEIZES
Spanish Dancer (1916)
Oil. 39'/4 x 29%
484 ALBERT GLEIZES
Three Themes (1916)
Tempera. 7Vb x 5Vb
485 ALBERT GLEIZES
Equilibrium Variations (1916)
Oil. 37 x 47
486 ALBERT GLEIZES
Barcelona (1916)
Watercolor. 17 x 22
487 ALBERT GLEIZES
Downtown New York (1916)
Watercolor. 23 x 17
488 ALBERT GLEIZES
Terrytown (1916)
Watercolor. 23 x 17
489 ALBERT GLEIZES
On Brooklyn Bridge (1917)
Oil. 64 x 50!/2
490 ALBERT GLEIZES
The Clown (1914-1917)
Oil. 46 x 38
491 ALBERT GLEIZES
Singer in Music Hall (1917)
Oil. 40 x 30
492 ALBERT GLEIZES
Here in Port (1917)
Oil. 60 x 47
493 ALBERT GLEIZES
Acrobats (1917)
Oil. 47 x 38'/2
494 ALBERT GLEIZES
Abstraction of Equestrian (1916)
Oil. 39'/2 x 29'/4
495 ALBERT GLEIZES
Cubistic Landscape (1917)
Drawing with watercolor.
103/4 x 8V2
496 ALBERT GLEIZES
New York City (1919)
Oil. 39 x 29
497 ALBERT GLEIZES
The Dance (1920)
Oil. 51 x 38'/2
498 ALBERT GLEIZES
At the Seaside (1922)
Gouache, 6x5
499 ALBERT GLEIZES
Boulevard
Tempera. 7Vi x 6
500 ALBERT GLEIZES
Pierrot (1938)
Gouache, 12x8
501 VASILY KANDINSKY
Landscape with a Tower (1909)
Oil. 12'/2 x 17
502 VASILY KANDINSKY
Winter Study with Church (1911)
Oil. 17'/4 x 12!/2
503 VASILY KANDINSKY
Landscape (1911)
Oil. 12'/2 x 17
504 VASILY KANDINSKY
Landscape
Oil. 25V2 x 31V2
505 VASILY KANDINSKY
Blue Mountain
Oil. 41 x 37'/2
506 PAUL KLEE
Lightning (1920)
Watercolor. ll'/z x 7%
173
PAINTINGS WITH AN OBJECT
507 PAUL KLEE
Hut on Mountain (1922)
Watercolor. 21% x 18%
523 FERNAND LEGER
The Factories (1918)
Oil. 26 x 20
508 PAUL KLEE
Dance You Monster (1922)
Oil. 153/4 x 11%
524 FERNAND LEGER
The Sailor (1918)
Oil. 17 x 21
509 PAUL KLEE
Tropical Culture (1923)
Watercolor. 19x8
525 FERNAND LEGER
The Stove (1918)
Oil. 23 x 19
510 PAUL KLEE
Fixed Lightning (1924)
Watercolor. 19 x 13
526 FERNAND LEGER
Composition (1920)
Watercolor. 75/s x 8%
511 PAUL KLEE
Tree Culture (1924)
Watercolor. 19 x 135/8
527 FRANZ MARC
Black Wolves (1913)
Watercolor. 17 x 143/s
512 PAUL KLEE
Comedy (1926)
Watercolor. 12% x 183/8
528 FRANZ MARC
Donkeys (1913)
Watercolor. 8% x 6'/2
513 PAUL KLEE
The End of the Marionette (1927)
Watercolor and ink. 12% x 18
529 FRANZ MARC
Blue Horses (1914)
Watercolor. 7% x 4%
514 PAUL KLEE
Full Moon over Town (1927)
Watercolor. 9% x 11%
530 FRANZ MARC
Urtiere
Watercolor. 15% x 18
515 PAUL KLEE
"Erinneraedchen" (1929)
Watercolor and ink. 12 x 14%
531 JEAN METZINGER
The Lady (1915)
Oil. 36 x 25
516 PAUL KLEE
Green Eyes (1935)
Gouache. 19 x 14
532 AMEDEO MODIGLIANI
The Boy in the Blue Vest
Oil. 36'/2 x 24%
517 PAUL KLEE
Cheerful (1936)
Watercolor. 13x19
533 AMEDEO MODIGLIANI
The Yellow Sweater
Oil. 25% x 36%
518 PAUL KLEE
Peach Harvest (1937)
Watercolor. 19% x 1 6V2
519 PAUL KLEE
Go Shopping
Watercolor. 11 x 9%
534 AMEDEO MODIGLIANI
Portrait of Beatrice Hastings
Drawing. 12 x 7Va
535 AMEDEO MODIGLIANI
Nude (1917)
Oil. 28% x 45
520 PAUL KLEE
Flower
Gouache, 9x6
536 PABLO PICASSO
Fruit Bowl (1908)
Oil. 253/s x 28%
521 FERNAND LEGER
The Smokers (1911)
Oil. 50 x 38%
537 PABLO PICASSO
Pierrot (1911)
Oil. 50 x 34
522 FERNAND LEGER
The Clock (1918)
Oil. 18% x 23%
538 PABLO PICASSO
Landscape Seret (1914)
Oil. 45% x 193/4
174
PAINTINGS WITH AN OBJECT
539 PABLO PICASSO
Musician (1914)
Oil. 25 x 19'/2
540 PABLO PICASSO
Abstraction (1916)
Collage. 18'/i x 24!/2
541 PABLO PICASSO
Abstraction (1918)
Oil. 14 x 11
542 PABLO PICASSO
Lemon (1927)
Oil. 7 x 5Va
543 HILLA REBAY
Relaxation (1924)
Paper and watercolor. 16% x 13%
544 HILLA REBAY
The Tiger Cat (1933)
Paper. 16% x 13'/8
545-710 HILLA REBAY
Objective and Non-objective originals
711 HENRI ROUSSEAU
The Artillerymen
Oil. 32 x 39'/2
711a GEORGES-PIERRE SEURAT
Shop (1879)
Colored drawing. 6 x 9Vi
712 GEORGES-PIERRE SEURAT
Bending Soldier (1881-1882)
Drawing 6% x 4'/8
713 GEORGES-PIERRE SEURAT
Peasant Women (1882)
Oil. 14'/2 x 18
715 GEORGES-PIERRE SEURAT
The Ape (1884)
Study for "Grande Jatte"
Pencil drawing. 7% x 6Yb
716 GEORGES-PIERRE SEURAT
Peasant (1884)
Oil. 17'/2 x 21I/2
717 GEORGES-PIERRE SEURAT
Enfant Blanc (1885)
Drawing. 11% x 9
718 GEORGES-PIERRE SEURAT
Le Clipper (1887)
Drawing. 8% x ll'/i
719 GEORGES-PIERRE SEURAT
La Grille
Drawing. 9Va x 1214
720 GEORGES-PIERRE SEURAT
The Door (1888)
Pencil drawing. 11% X 8
721 GEORGES-PIERRE SEURAT
Place de la Concorde (1888)
Drawing. 9 x 111/2
722 GEORGES-PIERRE SEURAT
Horse
Oil. 12 x 15'/2
723 GEORGES VALMIER
Still Life (1925)
Oil. 22 x 28
724 GEORGES VALMIER
Still Life (1930)
Watercolor. 4x7
714 GEORGES-PIERRE SEURAT
Peasant Woman (1883)
Oil. 15 x 18
725 EDOUARD VUILLARD
At la "Revue Blanche"
Oil. I8V2 x 22'/2
175
BIOGRAPHIES
BAUER, Rudolf. Born in Lindenwald, Poland, 1889. 1902, while still at Gymnasium, leading
publishers ignoring his youth, accepted his drawings. In 1905 he studied at the Academy
of Fine Arts in Berlin. Later, became known for his caricatures and his work in humorous
publications. He developed through Academism, Impressionism, Expressionism, Cubism, to
Non-objective painting, of which he is the outstanding master. He exhibited his paintings
as a member of the "Sturm" and in the Glasspalast in Berlin, 1915-1919, also in many foreign
countries. He was called by Berlin critics in 1919, the accomplisher of Kandinsky. He became
member of the "Krater" in 1921. In 1927 he exhibited in the Kgl. Schloss, Berlin. In 1929
he founded the Geistreich, a private museum of Non-objective painting in Berlin, unsel-
fishly recommending other artists to those who came to buy from him. Lectured on art in
German universities and museums, also "Volks Buehne," Berlin. He is the author of "Die
Kosmische Bewegung" in "Expressionismus die Kunstwende," Berlin, 1918; "Manifest der
Malerei," Berlin, 1921; "Das Geistreich," Berlin, 1931; and "Eppur si mouve," Berlin, 1935.
In 1937, the Musee of Jeu de Paume in the Tuileries, Paris, acquired one of his paintings.
He lives in Berlin, showing Non-objective paintings to the public, in a private museum
since 1929, never parting with his paintings unless their acquisition is to be useful to
uncommercial demonstrations in furthering the ideal of Non-objectivity. Bauer is the
creator of dramatic Non-objective painting.
BONNARD, Pierre. Born in Fontenay-aux Roses in 1867. Began his artistic studies at
the Academy Julian in Paris. In 1891 he made his debut at the Salon des Independents
together with his staunch friends, Toulouse-Lautrec, Vuillard, Roussel, Denis, Maillol.
He began his designs for stained glass windows in 1895; and in 1899 took a small post
with the Civil Service but continued his artistic work. From 1901 on, he exhibited regularly
in Paris with the Independents, the Impressionists. He illustrated books of Verlaine, Renard,
Zola, Mirbeau and Gide, published by Vollard. He has been awarded prizes in 1923
and 1936 at the Carnegie International. Exhibited at the Chicago Art institute in 1939
and in many foreign countries. Bonnard is the poet of color play. With curiously naive
and refined perception he imposes the change of floating harmonies, the total forget-
fulness of conventional forms. At first the scales of neutral tones were sufficient for his
magical renderings of Impressionism. Today his palette is flowing over with all the colors of
the rainbow. No other French painter ever surpassed him in the lyrical audacity and
the luminous sparkle of displaying Nature's charm. He lives in France.
BURLIUK, David. Born in Russia in 1882. Once a member of the "Blauer Reiter," Munich,
and exhibited in the "Sturm," Berlin. Lives in the United States.
CAMPENDONK, Heinrich. Born in Krefeld in 1889, where he studied with Prikker. From
1911 to 1914 he lived in Sindelsdorf. He has worked with Franz Marc and Kandinsky. He
lived in Seeshaupt from 1916 to 1933, later taught at the Academy of Duesseldorf. He is
at present teaching at the Ryksakademie in Amsterdam.
CENTURION, Penrod. Born in 1905 in New York. Educated in German and Swiss colleges
and returned to the United States in 1926. In 1934 was director of art for the experi-
mental school, College in the Hills, Herod, Illinois. He worked on the Federal Writers'
176
Project of Illinois until 1937 when he became a scholar and pupil of the Solomon R.
Guggenheim Foundation. Lives and works in Illinois.
CHAGALL, Marc. Born in Vitebsk, Russia, 1887. Began painting in 1907 under Bakst in
St. Petersburg, came to Paris in 1910, where he exhibited in the Salon des Independents;
1911-1914, he lived in Berlin. In 1913 he executed a mural painting for the Jewish Theatre
in Moscow. His first one-man show was organized by the "Sturm" in Berlin, 1914, after
which he returned to Russia, until 1922. Founded the Beaux Arts School in Vitebsk. Chagall
abstracts nature with the deepest feeling for spacing and magnificent color organizations.
The poetry of his fairy tales about love, animals and peasant life is always subdued to
the masterful creativeness of modern form problems. He only uses the objects and subjects
of his preference to display his visionary genius. Lives in Paris since 1929. Exhibitions in
many foreign countries: in Basle, 1931; London, 1935; New York City, 1937 and 1938.
Among the books he has illustrated are "Dead Souls," by Gogol. Most galleries own
his works.
COEFFIN, Josette. Born at Rouen, France. Studied at the School of Fine Arts at Rouen at
the age of 15. Has exhibited with the Salon des Artistes Francois, Salon des Independents,
and at the Salon d'Automne. Lives in Paris. Is a scholar of the Solomon R. Guggenheim
Foundation.
DELACROIX, Eugene. Born at Charenton, Saint Maurice in 1799. Pupil of Guerin and
influenced by Baron Gros. First exhibited at the Salon Paris in 1822. Journeyed to Algiers
in 1830. Painted the ceilings in the Palais Bourbon in 1835 and the ceilings of the Luxem-
bourg, 1847. Toward the end of his life executed the ceilings of Saint Sulpice approxi-
mately 1858. Introduced complementary color research and started Impressionism.
Died 1863.
DELAUNAY, Robert. Born in Paris, 1882. Exhibited in the Salon des Independents in 1908
and 1911, leading in the Cubist movement. Created the first historically outstanding
Cubistic pictures, "St. Severin," 1909, "Eiffel Tower", 1910, and "Les Fenetres," in 1912.
He illustrated the poems of Apollinaire and of Blaise Centrars, "Transsiberion," by
Huidobro, and "Alio, Paris!" by Deltail (Editions des Quatre Chemins). He made huge
decorations for the Aviation and Railroad Pavillions ordered by the French State for the
World's Fair, 1937. He lives in Paris.
DOMELA, Cesar. Born in Amsterdam in 1900, studied painting in Berlin in 1921, Switzerland
1922-24, and in Paris. Since 1925, member of the "Style Group." Lived in Amsterdam in
1926-27, and in Berlin, 1927-1933. Started constructions in metal and glass about 1930.
He lives in Paris.
FEININGER, Lyonal. Born in New York, 1871. Went to Germany in 1888 to study music,
but changed to the study of painting at the Academy in Berlin. From 1895 to 1900,
he worked together with Bauer as a cartoonist for the Lustige Blaetter, Berlin. He exhibited
in the Glasspalast in 1904, and in 1910 at the Berlin Secession and many foreign countries.
Taught painting at the Bauhaus in Weimar and Dessau until 1933. Had honorary one-man
show at the Museum, Crown Prince Palace, Berlin in 1931. Except for short periods in
177
Paris and for teaching at Mills College in Oakland, California, he lived in Berlin and
since 1936 in New York as painter, musician and composer.
FERREN, John. Born in 1905 at Pendleton, Oregon. First studied Impressionism. Later
became sculptor's apprentice. In 1930, he returned to painting. He has exhibited his work
in Paris and American cities. Lives in Paris since 1931.
FILLA, Emil. Born April 3, 1892 at Chropyne, Czechoslovakia. Studied at the Academy
of Prague from 1903-1905. Travelled in France, Italy, Germany and lived in Holland from
1914-1919. Since then has lived in Prague where he is a member of "Manes" as a painter
of abstractions. Represented in the Gal. Moderne, Prague.
GAUGUIN, Paul. Born in Paris in 1848. Spent his childhood in Peru. He was a seaman from
1863-1868 and stockbroker in 1868-1883; painted in France from 1873-1886. Painted in
Martinique in 1887, and then at Aries with von Gogh in 1888. After Aries, he went to
Pont-Avon, Brittany. Symthetist Group 1889-1890. Developed from Impressionism to
Expressionism and last to Abstraction. If he had not died in 1903 he would have developed
to Non-objective painting.
GLEIZES, Albert. Born in Paris, 1881, exhibited in Paris at the Societe Nationale des
Beaux Arts in 1902 and 1908; at the Salon d'Automne in 1903, 1905, and 1910; at the
Salon des Independents since 1909; and at the Salon des Tuileries since its founding. He
took part in the first Cubistic movement in 1908 and was one of the founders of the Salon
"Section d'Or" in 1912, as well as a member of the "Sturm," Berlin. During his journey to
the United States, 1915-1917, he produced interesting Cubistic pictures also of New York.
Since 1916, his paintings have been Abstractions. Some are entirely Non-objective.
Gleizes lectures and writes. His publications include: "Du Cubism," in collaboration
with Jean Metzinger, Paris, 1912; "Du Cubism et les moyens de le comprendre," Paris,
1920; "La Mission creative de I'Homme dans le domaine plastique," Paris, 1922; and
"Vers une conscience plastique," articles and lectures from 1911 to 1925, Paris, 1926.
Illustrations: "Le Bocage amoureaux," by Allard; "La Conque miraculeuse," by Mercereau;
and "Au pays du muftie," by Tailhade. He lives in Moly Sabata, France.
GRIS, Juan. Born Jose Gonzales, in Madrid, 1887, studied at the School of Arts and
Sciences in Madrid. In 1906 he came to Paris. Exhibited Cubistic paintings in 1912 at the
Salon des Independents. From 1915 to 1920 he exhibited in Paris. He made the decora-
tions for Diaghilev's Russian Ballet, "Les Tentations de la Bergere," "La Colombe," "Une
Education Manquee." In 1927 he died at his studio at Boulogne-sur-Seine.
KANDINSKY, Vasily. Born in Moscow, Russia, 1866, graduated in law and economics. He
went to Munich in 1900 to study painting with Azbe and Stuck. From 1902 to 1903 he
conducted an art school, then travelled until 1908 and lived again in Munich until 1912.
His first Non-objective painting was completed in 1911. In 1912 he founded the group of
"Blauer Reiter", also published a book with this title. His works were exhibited in the
Berlin "Automne Salon" in 1914 and in the "Sturm," Berlin, 1913-1918. Exhibited in many
foreign countries. 1914, he returned to Russia as teacher at the Beaux Arts School and
director of the Museum of Pictorial Culture at Moscow, 1919. 1920, established the
178
Institute of Artistic Culture as professor at the University of Moscow. Founded the
Russian Academy of Arts and Sciences. 1922, he returned to Germany to teach at the
Bauhaus in Weimar and Dessau until 1933. His books include: "Ueber das Geistige in der
Kunst," Munich, 1912; "Der Blaue Reiter," edited by Kandinsky and Franz Marc, Munich,
1912; "Kandinsky, 1901-1913," Berlin, "Kleine Welten," Berlin, 1922; and "Punkt und
Linie zur Flaeche," Munich 1926. He has exhibited in many foreign countries, and is repre-
sented in many international galleries of art. Kandinsky is the creator of lyrical Non-
objective painting. He lives in Paris.
KLEE, Paul. Born in Berne, Switzerland, 1879. He studied at the Academy of Munich with
Stuck in 1898. He travelled through Italy, lived in Berne from 1903 to 1906. His first public
show in 1910 was unsuccessful, but later he attracted great attention in the exhibition of
"Blauer Reiter," of which he was a member in 1912, and at the "Automne Salon," in Berlin,
1913. He also exhibited as a member of the "Sturm." In 1919 he became teacher at the
Bauhaus in Weimar, and later at Dessau; until 1932 he was a teacher at the Academy in
Duesseldorf. His works are abstractions of objective inspiration represented in most galleries
of art and exhibited in many foreign countries.
LEGER, Fernand. Born in Argentan, France, 1881. Studied shortly architecture at the Ecole
des Beaux Arts in 1901. He worked as an architectural draftsman and photographic
retoucher. He then began to paint, influenced by the works of Cezanne, Rousseau, became
prominent in the Cubist movement, and developed strong abstractions influenced by
objects. Created only few Non-objective decorations. Exhibited in the Berlin "Automne
Salon," in 1914, and later became known through the "Sturm," Berlin, 1914-1919. He
designed settings for the Swedish ballets. He directed an art school in Paris. He has had
exhibitions in many foreign countries and his work hangs in many modern galleries. In
1937 and 1938, his paintings were exhibited in New York City. He lives in Paris.
MARC, Franz. Born in Ried, upper Bavaria, 1880. Studied at the Munich Academy from
1900 to 1903. In 1902 he travelled in Italy and in 1903 he went to Paris for six months.
He lived in Munich from 1904 to 1905. In 1906 he visited Greece, and returned to Paris
and Berlin in 1907. From 1907 to 1914 he lived in Sindelsdorf, Bavaria. As a magnificent
painter of animal life he was the first in Germany to develop from Academism to Cubism,
which he organically interwove with nature's lights, shadows, and color displays in his
priceless abstractions. The sweet innocence of expressions in Chagall's animal paintings
he equalled and organized into new form problems and perfected renderings of nature's
protective surroundings to animals' intimacy. His most important work is "Tierschiksale"
damaged by fire in 1918. He was a member of the "Blauer Reiter" group. He was killed
at Verdun, March 4, 1916.
METZINGER, Jean. Born at Nantes, June 24, 1883. He became prominent in the Cubist
movement; he exhibited at the Salon des Independents in 1903 and at the Salon d'Automne,
Paris, since 1906. In collaboration with Albert Gleizes, he has written "Du Cubism," Paris,
1912. At present he lives in Paris.
MODIGLIANI, Amedeo. Born in Leghorn, Italy, 1884. After studying the old masters in
Naples, Florence and Venice, he arrived in Paris in 1905. His works as painter and
179
sculptor were exhibited at the Salon des Independents in 1908-1910, and at the Salon
d'Automne, Paris, 1919-1920. He was influenced by the Italian primitives and African
sculpture. Many of his Expressionistic portraits were those of his friends. His life in Paris
was one of poverty, illness and disillusionment. He died of consumption at the age of
thirty-five in Paris during 1920.
MOHOLY-NAGY, Ladislaus. Born in Hungary, 1895. From legal studies he turned to
photographic and applied art and painting in 1915. For a while he taught at the Bauhaus
at Dessau, a school mostly for handicrafts and applied design, housed in hideous modern
buildings. So many of its staff and pupils for some time were corrupted by communistic
political propaganda that this organization did tremendous harm to the belief in its use-
fulness and with it to all new form problems in Germany. In 1929, he went to Berlin where
he worked in films, stage settings, photography, writing and painting. His work has been
exhibited in foreign countries. His writings include "Malerei, Fotographie, Film," Munich,
1925; "The New Vision," New York, 1933; and "Sonderausgabe der Zeitschrift Telehor,"
1933-1935. He lived in London and since 1937 in Chicago.
NEBEL, Otto. Born in Berlin, Germany, 1892. Painter and writer. He studied architecture
from 1913 to 1918. Started Non-objective painting in 1917. He became a member of the
"Sturm" in 1919, and in 1920 the "Krater" in Berlin. He lives in Berne, Switzerland.
NICHOLSON, Ben. Born in Denham, England, 1894. From 1925 to 1936 he was a member
of "7 and 5," in London, and from 1933 a member of "Unit One," and in 1934, a member
of "Abstraction-Creation," Paris. He lives in London.
PICASSO, Pablo. Born in Malaga, Spain, 1881. Began to paint early in Le Ceruna as the
pupil of his father. He later studied in the Academy of Barcelona, from where he visited
Paris in 1900. He has lived in Paris since 1903. His first studies of space problems were
made in 1907 and his first Cubistic landscapes were painted in 1908. He has rarely
achieved Non-objectivity. In spite of being a very talented painter he is constantly sub-
jected to the hunt for journalistic sensations and inspirations from others, therefore lacking
the intuitive organic development and constantly increasing volume which characterizes
the evolution of genius. Like most famous painters he exhibited in all countries. Boosted by
dealers and publicity, the future possibilities of his fame are doubtful and tragic. He lives
in Paris.
REBAY, von Ehrenwiesen, Hilla. Born in Strasburg, Alsace. She studied with Zinkeisen, at
Duesseldorf, at the Paris Academy and with Groeber in Munich. Her paintings were
exhibited at the Wallraf Museum in Cologne in 1914, at the Secession in Munich,
1914-1915; at the Salon des Independents in Paris in 1914; at the Freie Secession
in Berlin, 1915; and at the "Sturm" in 1917. She was a member of the "November Gruppe,"
in 1918, and in 1920 a member of the "Krater." Exhibited in many foreign countries and
at the Salon des Tuileries and Salon dAutomne, Paris, 1932-1938. Her work developed
since 1914 from Academism through Impressionism, Expressionism, and Cubism to Non-
objective painting. Like Klee her work is mostly lyrical chamber music. Since 1937, Curator
of the Solomon R. Guggenheim Foundation. She lives in Greens Farms, Connecticut, and
Paris.
180
ROUSSEAU, Henri. Born in Laval, Mayenne in 1844. Military musician in Mexico from
1862-1867. Sargeant in the Franco-Prussian War in 1870. Customs officer in Paris, 1885.
Started to paint in 1885. First jungle painting in 1904. His primitive paintings are remark-
ably deep in feelings. With the intuitive intensity with which he was able to absorb the
beauty of a few leaves he recreated the poetry of a virgin forest. Never handicapped
by academic banalities of reproductive tricks he was master in the feeling of nature and
its primitive abstraction, although he never knew how to paint. His spacing was perfec-
tion. Died in Paris in 1910.
SCARLETT, Rolph. Born in Guelph, Ontario, 1891. Has exhibited in Toledo, Ohio, 1926;
Los Angeles, 1930; Pasadena, 1931. Has been designing sets for the Pasadena Playhouse
from 1930-1931. From 1931 to 1934, has been designing for various Hollywood film
studios. Pupil of the Solomon R. Guggenheim Foundation. Lives in Long Island.
SCH WITTERS, Kurt. Born in Hanover, June 20, 1887, where he still lives. Poet and painter,
Non-objective and Academic. In 1919-1922 while he lived in Berlin he used to give con-
stant surprises to his friends whom he visited unexpectedly at all hours, often loaded with
junk collected at dumping places some of which he used in his collages with surprising
effects.
SEURAT, Georges-Pierre. Born in Paris, 1859. He studied at the Ecole des Beaux Arts from
1875 to 1880. He painted in Paris from 1880 until his death. An indefatigable worker,
he sold only one painting during his lifetime. Not until years after his death was his
remarkable work appreciated. Seurat was the first Cubist and his priceless works are
much stronger in every detail of space perfection than any of Cezanne. Seurat developed
from Impressionism to Expressionism and finally Cubism. If he had lived as long as Cezanne,
he would have become a great creator of Non-objective painting, as his work already
indicated perfected control of balance and rhythm and immaterialistic spirituality, al-
though he died at the age of thirty-one.
SHWAB, W. Great master of Non-objective painting. Lives in Paris and Switzerland where
he was born.
DA SILVA, Vieira. Born in Lisbon, studied and lives in Paris.
STYRSKY. Born in Italy and lives in Paris.
TOYEN. Born in Italy and lives in Paris.
VALMIER, Georges. Born 1885 in Angouleme. He studied at the Paris Academy in 1905;
later he worked alone in Paris until 1914; served in the World War until 1919; exhibited
in Paris in 1921. He created state settings for futuristic plays by Marinetti, also for Romain,
and Pillement in Paris, and for Bohn's Ballet Russe in Chicago. A fine musician he made his
living as a church singer. He died in Paris, March 25, 1937. His latest works were three
big Cubistic decorations ordered by the French State for the railroad exhibit in the
World's Fair, Paris, 1937.
VORDEMBERGE-GILDEWART, F. Born 1899, Osnabrueck, Germany. He studied technics,
architecture, and sculpture in Hanover; in 1919 he joined the Dadist group in its intention
181
to confuse the public's unmovable viewpoint on art so as to open their minds and enable
them to new visions. He created Non-objective films in 1920; exhibited paintings and works
of absolute forms in metal and glass at the "Sturm" from 1923 to 1924; 1936 he moved to
Berlin. He was a member of the "Sturm" in 1923, "Style" in 1924, later of Abstraction-
Creation in Paris. In 1931 he was the German representative to the "Congres preparatoire
du musee contemporain" in La Sarraz, Switzerland. He has been living in Sv/itzerland and
Holland since 1937.
VUILLARD, Edouard. Born 1868 in Cuiseaux. Studied at the Academy Julian in Paris. In
1889, he was a member of a group called "Nabis." He studied at the Ecole des Beaux
Arts under Fleury and Bouguereau. From 1891 and onward, he has exhibited at the Salon
des Independents. Vuillard achieved a reputation for his lithographs, many of which were
for Vollard's publications. January, 1939, his work was exhibited at the Chicago Art
Institute. As France's second foremost Impressionist, often together with Bonnard, he
exhibited in many foreign countries. He lives in France.
WADSWORTH, Edward. Born in Cheakheaton, England, 1889. When Cubism appeared in
England in 1910 he was prepared to understand and appreciate it. He made his debut in the
Vorticist movement started by Wyndham Lewis, the first to import Cubism into England. His
first one-man show was at the Leicester Galleries in 1919. He is a member of "Unit One," a
group of eleven English artists with mutual sympathies. He lives in England.
XCERON, Jean. Born in 1890 in Greece. Came to the United States in 1904; studied at the
Corcoran School of Art in Washington, D. C, from 1910 to 1916, and then painted in New
York. He has lived and worked in Paris and New York since 1935.
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